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I registered zoomy.net in August of 2000, on a black Apple PowerBook G3 named Spider. I was facing northwest, sitting cross-legged on the floor of the carpeted living room of a small apartment on the second floor of a house in Somerville, just over the border from Cambridge.

I chose the name because it was silly. I thought the internet was an inherently silly place, but that many people were beginning to take it very seriously, and I wanted to push it toward whimsy.

I built the site mostly to hold my independent animation work, and also to play with the internet. The first version used “DHTML” to randomize things including the tagline, which persists in the header today.

I was very into candy corn as a concept at the time, in a stylized form with a rounder, more egg-like shape, rather more like a sunfish, or hand axe, or pear-cut gemstone. I’ve been interested in the link between jewels and food for a long time, as well as everything in that vicinity, including wagashi, and Fabergé eggs, and fruit-shaped Christmas ornaments, and the golden apple of dischord, and the floating fruit in Pac-Man. (Spiritually related, and possibly the platonic form of the idea, is the dorodango. See me after class for more on this.)

I redesigned the next year, with an interface I made in Flash, presided over by the candy corn lifting off as a rocketship:

The next year, in accordance with my increasingly entrepreneurial aspirations, a third site design featured the rocket rendered as a flashing neon sign. The rocket also made an appearance in original livery as the landing craft in Bluebaby:

Fourth year, fourth redesign, with animated candy corn returned to prominence in its original form in the header, but more spritely, here caught mid-bounce:

And the current WordPress design was the fifth, and dates from 2007.

A couple of years ago, I left the world of professional animation, and have since been scratching other long-latent itches in and around the field of cartography. Some of the results can be found at http://fjord.style – I hope you’ll follow me there.

An explicit examination of interaction, from Polish animator Piotr Kamler — this is a reprise of many of the themes of his earlier work since the 1970s, going so far as to reuse models from his 1982 opus Chronopolis.

It certainly recalls very accurately the sense of whimsical vertigo seen in late 70s and early 80s illustration, as particularly exemplified by Moebius, La Planète Sauvage, and their ilk — the horror of interface design. Charming-looking mechanisms with coy personalities are always in danger of reacting poorly to manipulation, rising up in Lovecraftian ways and overwhelming the user. I suppose it all boils down to drugs and the Other eventually.

This may be the perfect object. It’s 1 1/2″ tall, and is the spitting image of my long-lost beloved reading chair, what I done rescued from a sidewalk in Boston twelve years ago. Pale blue velveteen she was, and a reproduction from Medford. But I loveded her.

My evil nemesis dared me to attempt to print this adorable elephant he’s selling in full-color sandstone over on Shapeways. It printed out the size of my thumb in 18 minutes, in a single translucent layer.

He snatched it from the build platform while it was still warm and ran off into the night cooing at it before I had the chance to trim the fuzz from its adorable trunk.

This MakerBot Astronaut passes the play test: when you pick it up, you want to make it walk around on the nearest head, claiming said head for Earth in a comical astronaut voice.

My longest and most complex build yet. At the default size it’s four inches tall, and prints in five pieces, in the following times:

head: 11 minutes

helmet: 21 minutes

arms: 24 minutes

legs: 25 minutes

body: 44 minutes

Total: right around two hours. Then, giddy with the power of blue painter’s tape, I printed another, all on one raft.

To my surprise, this took slightly longer: 2 hours 10 minutes, I believe because of the overhead in moving between pieces on the same layer, and because the support settings are all or nothing: I needed support for the helmet, but I got it for every piece on the raft, spending unnecessary time and plastic.

So the moral is: if you’re doing a lot of pieces, or a multi-piece object, slice the objects separately and combine the G-code in a text editor if you can; it’s faster. And there’s another benefit to splitting the builds: if something goes wrong, you don’t have to re-build the whole thing.

It was not until the addition of blue painter’s tape to the mechanism that I was able to witness the creature’s complete apparition. The tape’s increased surface area allowed the spritely form to adhere more fervently to the MakerBot’s reification plane, preventing the unavoidable throes of creation from dislodging its grip on our reality prematurely.

The MakerBot works by melting plastic. Two kinds are most commonly used: one is made from corn, and reportedly smells like waffles when heated. The other is called ABS and smells like a styrofoam cup on fire. This is of course what I’m using.

In the concentrated atmosphere of my windowless subterranean lab, the smell (of the plastic) rapidly causes me headaches. So I found an old computer fan, got a length of flexible 3-inch hose, and designed a fitting in SketchUp so I could vent the smell away to the surface.

This fitting is nearly the width of the MakerBot’s build platform, and when I ran a test build, the outline of the foundation layer (known as the “raft”) was too large for the surface, and the nozzle kept hitting the platform’s outer limits. Adjusting the settings, generating new build code (known as “G-code”) and setting off another build was costing a lot of time and plastic.

That’s when I went looking for a G-code visualizer, and found ProcessingGcodeViewer, a standalone Processing app written by a MakerBot intern. It lets me check the path computed by the model slicer before I send it to the MakerBot for building.

Useful, free, *and* it looks like an Iron Man interface. And with the hose attached and the sides of the MakerBot closed up, the odor is nearly eliminated, and the mad-scientist aura of the lab is increased significantly.